Cris wrote:
> Of course i recognise the workings of nepotistic and corrupt and bankrupt
> aesthetics in the art world and the workings of multi-national corporations
> in the music industry. Personally i won't have a recording in the house -
> nor a machine to play them on.
Cris,
Personally, the modern recording industry means that the quotient
of enjoyment (and emotional catharsis) in my life is increased.
For example, the commercial CD means that I can vicariously enjoy
the bittersweet pleasure of the last live gig my favourite Aussie
band ever played, despite the fact that I was ten thousand miles
away at the time. Presumably, from what you say, this kind of thing
is problematic for you. Why? What would your ideal world be like?
I don't mean this as an attack: I'm genuinely intrigued by your
asceticism on this issue. How important is music to you? How much
is this stance a choice you re-make every day, as opposed to an
accustomed lifestyle? When did you take this stance, and why?
How does it interact with your writing? More than a decade ago,
I started (sequentially) two music degrees, the first in composition
and the second in violin performance. I've realised lately that, for
me anyway, the musical and the linguistic ear are closely intertwined.
When my writing is blocked (depressingly often), sometimes music can
unpick the locks; I wouldn't be without it to hand.
Ciao,
Kona.
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
|